graphite on paper, writing on glass, fixed-focus reflector with 300W lamp, tripod for light and electrical wires.
drawing replicates the first coat of arms of the first French republic overlaid by graffiti on the frame's glass that reads: In a society that has abolished every kind of adventure, the only adventure left is to abolish this same society "
sentence without authorship, used by French students in the 1960.
photo: Edouard Fraipont

detail of Atentado à iconografia republicana

Juramento à sombra da República [Oath in the shadow of the Republic], 2013

Máquina para evocar o espírito de Joseph Beuys através de sua imagem [Machine for invoking the spirit of Joseph Beuys by means of his image], 2013

glass container, distilled water with copper sulfate, iron plate printed with clear varnish (with portrait of the artist), copper plate printed with clear varnish (with portrait of Joseph Beuys), electrical cables and variable source.
The artifice created by Peter makes two plates of metal without images construct gradually the images of the artist and the image of Joseph Beuys. By a chemical process, the plate with the image of Beuys "gives" material to the plate with the image of Peters. Thus, Beuys' portrait appears in low relief as the accorded materialfrom his plate builds Peters' image in high relief.

Terra santa [Holy land], 2013

oxidation in screen printed iron plate, wires, soldering iron, Torah, microphone stand and pedestal for music score.
the oxidized iron plate carries an image of the Israeli Desert as a soldering iron burns a passage from the Torah that talks about the holy land.

detail of Terra santa [Holy land]

Tentativa de aspirar ao grande labirinto, 2013

Video stills.
the video features a virtual tour through Helio Oticica's Metaesquemas transformed into digital architectural projects, while the artist reads, with great difficulty, Oiticica's text Brazil Diarrhea.
According to Hélio Oiticica, the future of Brazilian modernism depends on the creation of an artistic language that can adopt a universal critical approach that is both “permanent and experimental.” His diagnosis of the state of Brazilian culture leads him to identify a tendency toward stagnation and regression, both of which are responsible for diluting radical, revolutionary, and constructive movements that are thus incapable of taking their ideas to their ultimate conclusions; hence his use of the term “diarrhea.” He sees a paternalistic reactionary trend, an “abstract purity,” and what he calls a state of “convi-conivência” (a play on words to describe a hypocritically complicit coexistence in the face of the country’s ethical and socio-political problems), which block any perception of how “Brazil is seen by the world” and “how it really is.” In order to overcome “Brazil’s super-paranoia, repression, and impotence,” Oiticica advocates a permanently nonconformist awareness of our “underdeveloped status.”